Interestingly enough live tracks from this same period reveal them to fine form. At times the band sounds energetic and yet at other times tepid and uninspired. Generally speaking the musicians (Terry, Radle, Oldaker, and Sims) sound more subdued and laid-back than on previous albums.

Finally Clapton had signaled his intent to record a romantic ballad on his next project when he recorded a demo version of “Wonderful Tonight” with Ronnie Lane in September 1976. It is also no coincidence that “’Til The Rivers All Run Dry” by Williams had been included in the Townshend/Lane sessions produced by Johns. Cale and Bob Dylan and during the previous year he had also spoken publicly of his admiration for Country & Western artist Don Williams with whom he made a public appearance at the Hammersmith Odeon providing dobro accompaniment. Clapton frequently spoke of his admiration for both J.J. Clapton had become reacquainted with Johns when he participated in sessions for an album by Pete Townshend and Ronnie Lane called ROUGH MIX and he enlisted the producer’s assistance with the recording of a new album.Ĭlues regarding the tone of SLOWHAND were evident. The sessions conducted at Olympic Studios in London could not have been further removed than the party-like atmosphere of Shangri-La Studios in Malibu, California, where the previous studio album, NO REASON TO CRY, had been recorded. His approach was perfect for the initially directionless Derek and the Dominos in the fall of 1970 and for Clapton’s return to the music scene in spring of 1974 after several years of exile.

Dowd had a musician’s temperament and infinite patience in permitting the music to develop. It was said that Johns enforced a more disciplined and rigid approach to recording and that Clapton chafed under the imposition after working closely with Tom Dowd for so many years. The production by Glyn Johns does not sound very exceptional despite his (well deserved) reputation as first-rate producer. Cale is superb and some of the original material such as “The Core” and “Peaches and Diesel” are inspired but there are also songs included which are overrated and pedestrian. The material runs the gamut from excellent to fair. However, in my opinion, it is good album but hardly the classic work that some fans believe it to be. I understand that it is sacrilegious to suggest that SLOWHAND isn’t one of Eric Clapton’s best albums.

Who sings wonderful tonight